{shortcode-f28afce3d33c1e9dd9ed808cabbecab2e868bb11}If I were to choose my favorite TV shows of all time, Bill Lawrence’s comedy-drama “Scrubs” (2001 to 2010) would definitely make the list—it stands out from all the other run-of-the-mill medical series that only call attention to themselves through their mediocrity and predictability. “Scrubs” takes the viewer through the whole range of human emotions in a single episode. Most of the time, it is hilariously funny and absurd (the hospital’s janitor: “I don’t believe in the moon. I think it’s just the back of the sun”). The comedic writing is fast-paced, the joke density is high—and thankfully, there is no laugh track. In fact, due to its hysterical, well-quotable humor, “Scrubs” would do very well for itself if it was nothing but a comedy. But when tragedy strikes, oh, does it strike! Out of the blue, characters’ lives are shattered. Yet the show also manages to be deeply touching and beautiful as it spreads its wisdom about life and human nature.

“Scrubs” would not be able to inflict such wide-ranging emotions on its audience if its characters were not as relatable and likable as they are. The protagonists, who are all well-written, well-cast, and well-acted, exhibit a behavioral complexity that makes it possible for the viewer to identify with each one of them. Take young physician and first-person narrator John “J.D.” Dorian (Zach Braff). While he’s a great doctor with hysterical daydreams, he also suffers from low self-esteem and always seeks the approval of his mentor, Dr. Percival “Perry” Cox (John C. McGinley). Dr. Cox is inaccessible, bitter (“[People are] bastard-coated bastards with bastard filling”), narcissistic, constantly sarcastic and demeaning, has problems with alcoholism—yet he also cares an incredible amount about his patients and has a secret respect for J.D. This combination of good and bad character traits result in the protagonists of “Scrubs” being three-dimensional and, thus, lovable.

But it is not only the characters in isolation who make the show so thoroughly enjoyable—it is also their lifelike relationships with each other. The on-screen chemistry between J.D. and his best friend Turk, a surgeon, is unmatched by any other TV bromance—perhaps because the two are actually best friends in real life as well. Likewise, there is J.D.’s on-off relationship with his neurotic, driven colleague Elliot, the antagonism between Dr. Cox and Dr. Kelso, the Chief of Medicine (who only seems to care about the hospital’s budget), and head nurse Carla’s devotion to interns who find in her a mother figure in the rough hospital environment.

As if that weren't enough, “Scrubs” excels at song choices, among them The Fray’s “How to Save a Life” and John Cale’s rendition of “Hallelujah.” Through this combination of deeply humanistic depictions and heart-wrenching music, the show creates an emotional attachment to its protagonists that makes it hard to stop watching.

—Staff writer Jorma P. Görns can be reached at jorma.gorns@thecrimson.com.